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You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms International 300 North 2eeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyler's Green High Wycombe, Bucks, England HP1Q 8HR 78-11,961 LACKEY. Louana M., 1926- MATERIALS, METHODS, ANDJECHNIQUES OF MODERN POTTERY-MAKING IN ACATLAN, PUEBLA, MEXICO. The American University, Ph.D., 1978 Anthropology, archaeology University Microfilms International, Ann Arbor, Michigan 4sio6 © 1978 LOUANA M. LACKEY ALL RIGHTS RESERVED MATERIALS, METHODS, AND TECHNIQUES OF MODERN POTTERY-MAKING IN ACATLAN, PUEBLA, MEXICO by Louana M. Lackey Submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Anthropology Signatures of Committee: Chairman : id. Dean of the College j ■ " 7 /Î7Ÿ I'*':, 1'^ ' V Date 1978 The American University Washington, D.C. 200l6 the AMERICAN UNIVERSITY LIBRARY PLEASE NOTE: Several pages contain colored illustrations which will not reproduce well. Filmed in the best possible way. UNIVERSITY MICROFILMS INTERNATIONAL ACKNOWLEDGEMENTS Neither this dissertation nor my academic career thus far would have been possible without the help and encouragement of many people. The listing must begin with Harvey C. Moore, who introduced me to the disci­ pline of Anthropology and encouraged my reentry into academic life after an absence of more than 30 years. Other members of the Department of Anthropology also share the responsibility for ray success: Jim Bodine and Bill Leap, both of whom taught me as an undergraduate and have always been helpful with citations and answers to questions. No longer a member of the Department but an equally important influence was Ellie McDowell, who also taught me as an undergraduate and, more importantly, introduced me to the joys of field archeology at Glen Haven, West Virginia, where there were many late night discussions by the campfire, ranging from the esthetics of Eastern Woodlands pottery to the mechanics of motor­ cycles. Gary Hume, also gone, was influential in directing my interests away from lithic technology and into their present focus. Lucille St. Hoyme, who never formally taught me as a student, was as interested in my progress as if she had and left her own department's Christmas party to help me find the "missing link," a Xerox copy of a heretofore unfindable article and the final one I needed. Probably the longest suffering member of the Department was Charlie McNett, my adviser since my admission as an undergraduate and more recent­ ly Chairman of my Dissertation Committee. My debts to him are too great to express here adequately, I also am almost as deeply obliged to the other two members of my committee. Matthew Norton, a geologist, now Chairman iii of the Department of Chemistry, guided me through the mysteries of the polarizing microscope and X-ray crystallography to the final analysis of the materials used in the Acatecan clay hody. Frederick R. Matson of the Anthropology Department of the Pennsylvania State University answered my queries, provided citations, read my papers, looked at my slides, and made me feel as welcome on his campus as if I had been one of his own students. I am in dept to three other anthropologists for the present study. Norberto Gonzalez Crespo, now the State Archeologist of Yucatan, was the first to encourage me to visit Acatlan, excusing me for several days from working on excavations at Las Pilas, Morelos, in the summer of 1973. A discussion of this visit with George M. Foster crystallized my inten­ tions and set the research in motion. The way was smoothed by Fernando Camera Barbachano of INAH, who issued the necessary permit, wrote letters of introduction to the authorities in Acatlan, and generally expedited my work. Appreciation is also due the wonderfully helpful librarians at the Museum of Anthropology in Mexico City. The professional appearance of the dissertation is due to the work of two people. Frederic A. Ritter, Chairman of the Department of Geography at Morgan State University in Baltimore, Maryland, drew the maps. Shirley Hicks, a long-time friend, took time from her own graduate studies to type the final copy, the latest in a long succession of kindnesses. The research was made possible by a University Dissertation Fellow­ ship, as well as financial help from my father and step-mother, an expression of confidence that helped almost as much as the money. The iv confidence and encouragement of my daughters who learned to cook and clean, and wash and iron, and generally took over for their absent mother was equally important. Most important of all were the countless hours spent by my incredible husband over the years since I entered The American Univer­ sity. He typed and retyped my undergraduate and graduate research papers, editing, picking up dangling participles, frowning at poor sentence structure and misspelled words. He stood by through phonemes, edge angles, comprehensives and field research. Without him I would have become a second-time college drop-out. To him I dedicate this dissertation with love. TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................ iii LIST OF F I G U R E S ......................................... viii Chapter I, INTRODUCTION ................................. 1 Some of the Problems Some Possible Solutions The Present Study II. ACATLAN 16 Geographic Setting Historical Background Present-Day Acatlan III. POTTERY AND P O T T E R S ......................... ^2 Pottery The Pottery Sellers The Potters IV. MARIO MARTÎNEZ E S P I N O S A ...................... 71 The Martinez Family The Household The Family as a Work Unit V. THE MATERIALS OF POTTERY-MAKING............... ^7 The Clay Body Paints Fuel VI. THE IMPLEMENTS OF POTTERY-MAKING............... Tools Equipment Facilities VII. MAKING THE POTTERY..............................133 The Basic Process Molded and Coiled Vessels Molded and Modeled Vessels vi Compound Molded Objects The Vertical-Halves Mold Complex Constructions VIII. FINISHING THE P O T T E R Y ......................... l68 Drying the Wares Painting and Polishing the Wares Firing the Wares Unloading the Kiln IX. LEARNING TO BE APO T T E R ........................ 203 Traditional Ways New Ways The Trader as Teacher X. THEORETICAL CONSIDERATIONS .................... 228 Archeological Implications The Future of Ceramics in Acatlan Further Note APPENDIX.................................................21+7 GLOSSARY............................................... 21+8 REFERENCES CITED ...................................... 2^h V I 1 LIST OF FIGURES Figure 1. Mexico, showing area of study........................ IT 2. Southern Puebla..................................... 18 3. Acatlan............................................ 25 k. Petates, baskets, and cordage in the Sundaymarket., . 32 5. Domestic wares in the Sunday market................... 34 6. Cantaros with traditional painted decoration........ 35 7. Pottery vendor...................................... 36 8. Glazed ollas and cazuelas from Puebla................. 37 9. Glazed ollas, factory-made wares, and Oaxacan chorreada....................................... 38 10. Plastic and metal wares.............................. 39 11. Making tortillas. A metate and mano are in the foreground; they are cooking on a comal■ hi 12. Inside the Casa Lopez.............................. 13. Pottery church...................................... ^5 14. Lizard........................................... 15 . "Mickey Mouse."................................... 16 . Candleholder paintedwith acrylic and decorated with grecas.........................................

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